Federico Giannini è giornalista, direttore responsabile di Finestre sull'Arte. Nato a Massa nel 1986, si è laureato nel 2010 in Informatica Umanistica all’Università di Pisa. Nel 2009 ha iniziato a lavorare nel settore della comunicazione su web, con particolare riferimento alla comunicazione per i beni culturali. Iscritto all’Ordine Nazionale dei Giornalisti dal 2017, specializzato in arte e storia dell’arte. Nel 2017 ha fondato con Ilaria Baratta la rivista Finestre sull’Arte, iscritta al registro della stampa del Tribunale di Massa dal giugno 2017. Dalla fondazione è direttore responsabile della rivista. Collabora e ha collaborato con diverse riviste, tra cui Art e Dossier e Left. Al suo attivo anche docenze in materia di giornalismo culturale (presso Università di Genova e Ordine dei Giornalisti). Per la televisione è stato autore del documentario Le mani dell’arte (Rai 5) ed è stato tra i presentatori del programma Dorian – L’arte non invecchia (Rai 5). Partecipa regolarmente come relatore e moderatore su temi di arte e cultura a numerosi convegni (tra gli altri: Lu.Bec. Lucca Beni Culturali, Ro.Me Exhibition, Con-Vivere Festival, TTG Travel Experience).
All the articles by Federico Giannini on Finestre sull'Arte
It sparkles with harmless composure the ceremonial of exhausted furniture that Benni Bosetto has conveyed in the three large rooms of his exhibition Rebecca, destined to occupy the Shed of the Pirelli HangarBicocca until midsummer and applauded uncon...
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Why yes. Federico Giannini
If the museum is a ruthless apparatus for organizing the visible, a distorted device for classifying images, all the less reasonable and all the more perverse must inevitably appear any miniaturization of it, any reduction...
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For the past few hours I've been noticing in my bubble a certain overexcitement over Aldo Grasso's critique in the Corriere newspaper of Jacopo Veneziani's program ("Vita da artista"), this time more fierce than six months ago, when Veneziani got awa...
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He makes an appointment for me in the store of one of his colleagues, concealed in the courtyard of a nineteenth-century palace on Via Vittoria Colonna. He, Mario Bigetti, doyen of Rome's antiquarians, no longer has his own store, no longer even work...
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Until forty, fifty years ago, anyone who wanted to set up a chamber of Risorgimento horrors, a museum of the kitsch of post-unification Italy, would not have hesitated before the possibility of 'slip into the album of patriotic rhetoric also the work...
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For what reasons, in May 2024, did the National Gallery of Umbria pay a sum of 100 thousand euros to the National Gallery of Modern and Contemporary Art for the loan of Gustav Klimt's The Three Ages ? Was an exception made to the guidelines governing...
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Who, then, was Gian Lorenzo Bernini? In front of the long, uniform, sumptuous gallery of portraits gathered in the rooms on the first floor of Palazzo Barberini, one might be tempted to dismiss the feeling that Bernini was a man who disdained any for...
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From the few openings of the first editions (the debut in 1993), to a mobilization that involves hundreds of cities and hundreds of thousands of people each year, the FAI Spring Days have become one of the most participated cultural events in Italy. ...
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